Pera Mutis is a endemic genus of Neotropics, with about 30 species, occurring in Cuba, Central America to southem Brazil. Major concentration of species is on Amazon. This genus has not been subject of a modem revision, and the revision works, are laged, with keys and descriptions difficult to follow. Also have doubts with the correct position on Euphorbiaceae. In this way the objective of this work is to know what species of Pera occur in Amazon, where the species occur, update the specimes identification on herbarium visited, illustrating the amazonian species and makes descriptions and keys. For that it was consulted herbarium of Embrapa Amazônia Oriental (IAN), Instituto de Pesquisa da Amazônia (INPA), Jardim Botânico do Rio de Janeiro (RB), Museu Nacional do Rio de Janeiro (R), Museu Paraense Emílio Goeldi (MG), Universidade de Brasília (UNB), Universidade Federal do Mato Grosso (UFMT). The species of Pera can be dioecious trees or shrubs, rarely monoecious, leaves simple, alternate and exceptionally opposite, with flowers in axillary pseudants, always protected by a involucral bract, and sometimes are confused with a flower-buds. In the Brazilian Amazon ocurr 13 species, which are: P barbinervis (Mart. ex Kl.) Pax et Hoff., P. bicolor (Klotzsch) Müll. Arg., P. benensis Ruby, P. coccinea (Benth.) Müll. Arg., P. distichophylla (Mart.) BailL, P. glabrata (Schott.) BailL, P. heteranthera (Schranck) I. Johnst M., P. membranacea Leal, P. decipiens Müll. Arg., P. lomenlosa (Benth.) Müll. Arg., P. pulchrifolia Ducke, Pera sp. I and Pera sp. II. Three of these are new records from Amazon. Have been excluded 4 taxon that were believed to occur in Brazilian Amazon: P. citriodora BailL, P. heterodoxa Müll. Arg., Pera arbórea Mutis and Pera incisa Leal. And have a proposal of sinonization of Pera fruíescens Leal and P. heteranthera. / O gênero Pera Mutis é endêmico do neotrópico, com aproximadamente 30 espécies, ocorrendo em Cuba, América Central até o sul do Brasil. Sendo que a maior concentração de espécies está na Amazônia. Esse gênero ainda não foi objeto de uma revisão moderna, e os trabalhos de carater revisional encontram-se defasados e com chaves e descrições difíceis de serem seguidas. Além disso apresenta grandes duvidas sobre a sua correta posição taxonômica na familia Euphorbiaceae. Diante disso objetivou-se saber quais são as espécies de Pera que ocorrem na Amazônia, onde as espécies ocorrem, atualizar as identificações nos herbários estudados, ilustrar o material, elaborar descrições e chaves. Para isso consultou os herbários da Embrapa Amazônia Oriental (IAN), Instituto de Pesquisa da Amazônia (INPA), Jardim Botânico do Rio de Janeiro (RB), Museu Nacional do Rio de Janeiro (R), Museu Paraense Emílio Goeldi (MG), Universidade de Brasília (UNB), Universidade Federal do Mato Grosso (UFMT). A espécies de Pera podem ser árvores ou arbustos dióicos, raramente monóicos, de folhas simples, alternas e excepcionalmente opostas, com inflorescências em pseudantos axilares, sempre protegidas por uma bráctea globosas, e as vezes são confundidas com um botão floral. Na Amazônia Brasileira existem 13 espécies, sendo elas: P. barbinervis (Mart. ex Kl.) Pax et Hoff., P. bicolor (Klotzsch) Müll. Arg., P. benensis Ruby, P. coccinea (Benth.) Müll. Arg., P. distichophylla (Mart.) Baill., P. glabrata (Schott.) Baill., P. beteranthera (Schranck) LM. Johnst, P. membranacea Leal, P. decipiens Müll. Arg., P. lomenlosa (Benth.) Müll. Arg., P. pulchrifolia Ducke, Pera sp. I, Pera sp. II. Destas 13 espécies 3 são novas ocorrências para o Pará. Foram excluídos taxon que acreditava-se ocorrer na amazônia brasileira, a saber: P. citriodora Baill., P. heterodoxa Müll. Arg., Pera arbórea Mutis e Pera incisa Leal. É proposta uma sinonimização de Pera fruíescens Leal como P. heteranthera.

Ese trabajo se divide en dos partes y propone hacer una lectura de La mansión de Araucaíma, de Álvaro Mutis, en dos niveles. La primer parte se centra en el primer nivel, que corresponde a la historia relatada por el narrador y refiere cómo es la vida en la mansión de Araucaíma, que se constituye como la de un claustro que recibe su orden de la relación constante que mantiene con lo sagrado. En esta sección se ve cómo el lenguaje construye una atmósfera ritual, grave y trascendente. El segundo nivel observa no solo la historia, sino al narrador contándola. Este, mediante una operación paródica del lenguaje, cuestionará lo afirmado en el primer nivel: no hay un universo divino que ratifique el orden de vida en la mansión, por lo que toda ritualidad se demuestra vana y condenada al fracaso. Esta investigación concluye que el relato se presenta como un juego, en el que el lenguaje construye a la vez que destruye. De esta manera, se niega toda presencia trascendental y tranquilizadora que le confiera orden y estructura al universo. / Tesis

This dissertation demonstrates how the Weltanschauung found in Álvaro Mutis´s oeuvre is profoundly influenced by a late romantic conscience found in the Latin American posvanguardia generation (1920 – 1940). Melancholy –as late modern affective condition- and fading of the subject –as narrative and aesthetic imaginary- are two central figures in his fictional universe. As a consequence of this, some of the heroes and topics in Mutis’s oeuvre are in dialogue with the main topics of the first literary movement in Hispanic America, Modernism. Some of them are: a religious ambiance in their prose, hedonism, cosmopolitanism, decadentism, Latin American landscape as entropy and a fractured self. There is a narrative logic in the literary corpus analyzed –which one can extend to Mutis’ s oeuvre. The hero, before starting his adventure, begins a psychological phenomenology called “fading of the subject”, which is a symbolic process that affects not only his stability as a hero but also the enterprise to which he is committed; all this thanks to his “melancholic condition”. This emotional process begins by revealing poetic images of internal destruction, amalgamation and death, which the hero transfers to the external world. In some of the texts analyzed this process concludes by producing death and devastation (El Húsar, La muerte del estratega), in others there is an urgent need to a symbolic resignification (Amirbar) that allows the hero to survive and start a new adventure. This “spiritual condition” is something Maqroll - Mutis’ main character- knows well when someone asks him about his precarious physical condition, “The tropical fevers...I have them already!” (Amirbar 491)

This dissertation demonstrates how the Weltanschauung found in Álvaro Mutis´s oeuvre is profoundly influenced by a late romantic conscience found in the Latin American posvanguardia generation (1920 – 1940). Melancholy –as late modern affective condition- and fading of the subject –as narrative and aesthetic imaginary- are two central figures in his fictional universe. As a consequence of this, some of the heroes and topics in Mutis’s oeuvre are in dialogue with the main topics of the first literary movement in Hispanic America, Modernism. Some of them are: a religious ambiance in their prose, hedonism, cosmopolitanism, decadentism, Latin American landscape as entropy and a fractured self. There is a narrative logic in the literary corpus analyzed –which one can extend to Mutis’ s oeuvre. The hero, before starting his adventure, begins a psychological phenomenology called “fading of the subject”, which is a symbolic process that affects not only his stability as a hero but also the enterprise to which he is committed; all this thanks to his “melancholic condition”. This emotional process begins by revealing poetic images of internal destruction, amalgamation and death, which the hero transfers to the external world. In some of the texts analyzed this process concludes by producing death and devastation (El Húsar, La muerte del estratega), in others there is an urgent need to a symbolic resignification (Amirbar) that allows the hero to survive and start a new adventure. This “spiritual condition” is something Maqroll - Mutis’ main character- knows well when someone asks him about his precarious physical condition, “The tropical fevers...I have them already!” (Amirbar 491)

This dissertation demonstrates how the Weltanschauung found in Álvaro Mutis´s oeuvre is profoundly influenced by a late romantic conscience found in the Latin American posvanguardia generation (1920 – 1940). Melancholy –as late modern affective condition- and fading of the subject –as narrative and aesthetic imaginary- are two central figures in his fictional universe. As a consequence of this, some of the heroes and topics in Mutis’s oeuvre are in dialogue with the main topics of the first literary movement in Hispanic America, Modernism. Some of them are: a religious ambiance in their prose, hedonism, cosmopolitanism, decadentism, Latin American landscape as entropy and a fractured self. There is a narrative logic in the literary corpus analyzed –which one can extend to Mutis’ s oeuvre. The hero, before starting his adventure, begins a psychological phenomenology called “fading of the subject”, which is a symbolic process that affects not only his stability as a hero but also the enterprise to which he is committed; all this thanks to his “melancholic condition”. This emotional process begins by revealing poetic images of internal destruction, amalgamation and death, which the hero transfers to the external world. In some of the texts analyzed this process concludes by producing death and devastation (El Húsar, La muerte del estratega), in others there is an urgent need to a symbolic resignification (Amirbar) that allows the hero to survive and start a new adventure. This “spiritual condition” is something Maqroll - Mutis’ main character- knows well when someone asks him about his precarious physical condition, “The tropical fevers...I have them already!” (Amirbar 491)

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Submitted by Josiane ribeiro (josiane.caic@gmail.com) on 2015-04-24T18:30:26Z No. of bitstreams: 1 Luciane Senna Ferreira.pdf: 1097425 bytes, checksum: a50bb83456929fa774b4eef9fc01566c (MD5) / Approved for entry into archive by Vitor de Carvalho (vitor_carvalho_im@hotmail.com) on 2015-05-19T18:39:32Z (GMT) No. of bitstreams: 1 Luciane Senna Ferreira.pdf: 1097425 bytes, checksum: a50bb83456929fa774b4eef9fc01566c (MD5) / Made available in DSpace on 2015-05-19T18:39:32Z (GMT). No. of bitstreams: 1 Luciane Senna Ferreira.pdf: 1097425 bytes, checksum: a50bb83456929fa774b4eef9fc01566c (MD5) Previous issue date: 2010 / A partir da noção de cronotopo formulada por Mikhail Bakhtin, assim como a caracterização que o teórico faz do cronotopo de viagem em sua reflexão acerca da evolução/transformação dos gêneros narrativos, empreendo a análise no romance La nieve del Almirante (1986), do escritor colombiano Álvaro Mutis. Essa obra circula em torno de um grande tema e modelo compositivo: a viagem; da mesma maneira que também se articula em torno de uma figura: o viajante. Modalidade de cronotopo narrativo que se concentra no próprio ato da escritura e leitura de um diário de viagem, privilegiando, assim, a voz, o discurso, a escrita; assim como um tempo que diminui a distância entre o narrar e o narrado, em que as temporalidades se cruzam e se confundem no espaço da selva americana. Dessa forma, singularizo meu estudo nas configurações de tal tipologia narrativa no interior da obra, oferecendo uma interpretação possível desse proceder, e o que ele estaria colaborando para caracterização do cronotopo na narrativa latino-americana do século XX. Analiso o desenvolvimento desta tipologia narrativa, centralizando o olhar não só em problemas de poética, mas também em historiografia literária, para fazer visível o papel dessa narrativa no processo de identidade de nossas letras. / Basada en la noción de cronotopo propuesta por Mikhail Bakhtin, así como en la caracterización que el teórico hace del cronotopo de viaje en su reflexión en torno a la evolución/transformación de los géneros narrativos, singularizo mi análisis en la novela La nieve del Almirante (1986), del escritor colombiano Álvaro Mutis. Esa obra circula en torno a un gran tema y modelo compositivo: el viaje; de la misma manera que también se articula en torno a una figura: el viajero. Modalidad de cronotopo narrativo que se concentra en el propio acto de la escritura y de la lectura de un diario de viaje, privilegiando, así, la voz, el discurso, la escritura; así como un tiempo que disminuye la distancia entre el narrar y el narrado, en que las temporalidades se cruzan y se confunden en el espacio de la selva americana. De esa forma, singularizo mi estudio en las configuraciones de esa tipología narrativa en el interior de la obra, ofreciendo una interpretación posible de ese proceder, y lo que él estaría colaborando para caracterización del cronotopo en la narrativa latino-americana del siglo XX. Analizo el desarrollo de esta tipología narrativa, centralizando el mirar no sólo en problemas de poética, pero también en historiografía literaria, para hacer visible el papel de esa narrativa en el proceso de identidad de nuestras letras.

This dissertation demonstrates how the Weltanschauung found in Álvaro Mutis´s oeuvre is profoundly influenced by a late romantic conscience found in the Latin American posvanguardia generation (1920 – 1940). Melancholy –as late modern affective condition- and fading of the subject –as narrative and aesthetic imaginary- are two central figures in his fictional universe. As a consequence of this, some of the heroes and topics in Mutis’s oeuvre are in dialogue with the main topics of the first literary movement in Hispanic America, Modernism. Some of them are: a religious ambiance in their prose, hedonism, cosmopolitanism, decadentism, Latin American landscape as entropy and a fractured self. There is a narrative logic in the literary corpus analyzed –which one can extend to Mutis’ s oeuvre. The hero, before starting his adventure, begins a psychological phenomenology called “fading of the subject”, which is a symbolic process that affects not only his stability as a hero but also the enterprise to which he is committed; all this thanks to his “melancholic condition”. This emotional process begins by revealing poetic images of internal destruction, amalgamation and death, which the hero transfers to the external world. In some of the texts analyzed this process concludes by producing death and devastation (El Húsar, La muerte del estratega), in others there is an urgent need to a symbolic resignification (Amirbar) that allows the hero to survive and start a new adventure. This “spiritual condition” is something Maqroll - Mutis’ main character- knows well when someone asks him about his precarious physical condition, “The tropical fevers...I have them already!” (Amirbar 491)

Petrologic, structural and age investigations of the Lolotoi Complex of East Timor indicate that it is part of a group of thin metamorphic klippen found throughout the region that were detached from the Banda forearc and accreted to the NW Australian continental margin during Late Miocene to Present arc-continent collision. Metamorphic rock types are dominated by (in order of greatest to least abundance), greenschist, graphitic phyllite, quartz-mica schist, amphibolite and pelitic schist. Mineral, whole rock, and trace element geochemical analyses of metabasites indicate that protolith compositions are consistent with tholeiitic basalt and basaltic andesite with mixed MORB and oceanic arc affinities. Metapelitic schist compositions are consistent with mafic to intermediate oceanic to continental arc provenance. Geothermobarometric calculations show peak metamorphic temperatures in pelitic rocks range from 530°C to 610°C for garnet-biotite pairs and peak pressures of 5 to 8 kbar for garnet-aluminosilicate-quartz-plagioclase assemblages. Analyses of amphibole in amphibolites yield temperatures of 550°C to 650°C and pressures of 6 to 7 kbar. Lu-Hf analyses performed on garnet samples from two massifs in East Timor yielded four ages with a mean of 45.36 ± 0.63 Ma, which is interpreted to represent the approximate age of peak metamorphism. Detrital zircons from one amphibolite sample in East Timor yields a bimodal U-Pb age distribution of 560 Ma and 80 Ma, indicating deposition occurred after the 80 Ma closure of the zircon grains. The sequence of deformation as indicated by field measurements is similar to that reported from other klippen throughout the Timor region. Contact relationships with adjacent units indicate that the metamorphic terrane is in thrust contact with underlying Gondwana Sequence rocks. Overlying the metamorphic rocks are Asian affinity volcanic and sedimentary cover units found mostly in normal fault contact on the edges of Lolotoi Complex klippen. Geochemical, age, petrological and structural data imply the Lolotoi Complex formed part of the eastern Great Indonesian arc, which began to collapse in the Eocene, was incorporated into the Banda arc in the Miocene, and accreted to the Austrailian continental margin from Pliocene to Present.

En el presente trabajo se establecen relaciones de afinidad y oposición en la literatura colombiana entre los autores del siglo XIX, Jorge Isaacs y José Asunción Silva y Gabriel García Márquez y Álvaro Mutis del siglo XX. A partir de los conceptos de escritura e historia pretende demostrar que es posible hacer una lectura de las obras centrales de la literatura colombiana no sólo en términos temáticos, sino estéticos e ideológicos. Por consiguiente, a medida que nos vamos adentrando en la lectura de las obras propuestas se hace evidente la existencia de dos corrientes dentro de una misma literatura. Estas dos variantes de una misma literatura se sustentan a través del carácter crítico de la modernidad que posee dos modalidades: la concepción de la historia como una sucesión de etapas que necesariamente llevan a la perfección y la fragmentación que se produce en los intercambios simbólicos que lleva acabo cada sujeto y que ha sido expresada en términos de subjetividad. La primera representada por Isaacs y García Márquez de tendencia marcadamente regionalista y política, la segunda cosmopolita y desesperanzada representada por Silva y Mutis. / This thesis establishes relationships of likeness and opposition in the Colombian literature among the authors of the XIX century, Jorge Isaacs and José Asunción Silva, and Gabriel García Márquez and Álvaro Mutis of the XX century. Starting from the writing concepts and history is sought to demonstrate that it is possible to not only make a reading of the central works of the Colombian literature in thematic terms, but aesthetic and ideological. Consequently, as we go going into in the reading of the works literary proposals it becomes evident the existence of two currents inside oneself literature. These two variants of oneself literature is sustained through the critical character of the modernity that possesses two modalities: the history’s conception like a succession of stages that necessarily take to the perfection, and the fragmentation taken place in the symbolic exchanges that it takes finish each fellow and that it has been expressed in terms of subjectivity. The first one is represented markedly by Isaacs and García Márquez like a regional and politics tendency; the second, cosmopolitan and hopeless, represented by Silva and Mutis.